Vendula Vítová↓
Gallery
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Socha muže s rádlem, cca 1928–1929, minerální kompozit, průběh restaurování, 225 × 75 × 90 cm
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Adorující anděl, okolo poloviny 18. století, polychromovaná dřevořezba, průběh restaurování
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Adorující anděl, okolo poloviny 18. století, polychromovaná dřevořezba, stav díla před restaurováním, 130 × 85 × 50 cm
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Socha muže s rádlem, cca 1928–1929, minerální kompozit, průběh restaurování, 225 × 75 × 90 cm
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Sv. Mikuláš, kolem 1702, polychromovaný kámen, průběh restaurování, 156 × 90 × 40 cm
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Sv. Mikuláš, kolem 1702, polychromovaný kámen, stav díla před restaurováním, 156 × 90 × 40 cm
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Socha muže s rádlem, cca 1928–1929, minerální kompozit, stav díla před restaurováním, 160 × 75 × 90 cm
Studies
| 2018–2019 | Restoration of Sculptures, AVU (Jan Kracík) |
| 2013–2018 | Restoration of Sculptures, AVU (Petr Siegl) |
About the work
What should people know about your work?
My diploma work included the restoration of three sculptural works:
The first artwork is a Baroque, painted wooden sculpture of an adoring angel, which will be part of the new permanent exhibition at the National Museum. The second is a Baroque, painted sandstone sculpture of Saint Nicholas from the National Museum’s Lapidarium. The removal of secondary repainting was the most major intervention in the case of both sculptures.
The final sculpture was a male figure made of artificial stone which was one of eight statues previously decorating the attic of 23 Senovážné náměstí, Prague. This sculpture required a complex restorative intervention because of its serious state of disrepair.
Part of the diploma work is also theoretical. In my paper I concern myself with issues regarding the adhesion of polychrome paint on stone sculptures.
How do you see yourself and your work five years from now?
During the first few years after leaving art school it is always a good idea for a conservator-restorer to work with more experienced colleagues from the field, before acquiring their own license and coming to terms with the reality of restoration. There is little doubt that this is something I will not be able to avoid. But I do not plan to stay in Prague. Five years from now I see myself somewhere in the borderlands of Bohemia and Moravia living in my own house, which will also accommodate a restoration studio. I will have to work hard to ensure that it’s not just an empty room, but a space equipped with all the tools and machines that a restorer needs to work independently. While rocking a baby in its baby carriage and making a hands free call to my husband to ask whether he’s already on his way home, I will be removing polychromatic paint from some Saint John of Nepomuk or Virgin Mary, while also thinking about which vegetables to toss on the pan for dinner. Over the holidays, I will restore stone sculptures instead of wooden ones. When the opportunity arises, I will collaborate with a regional museum, castle or open-air museum.